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Aspects of Organ-Building in Ireland in the Nineteenth Century, referencing White, Telford, and Post-Emancipation Choral Practice by Alexis Paul McKeever Supervisors: Dr Helen Phelan Dr William McVicker Doctorate of Philosophy University of Limerick Submitted to the University of Limerick (February 2012) Dedicated to my mother Daphne and in memory of my father Brian Table of Contents Abstract...……………………………………………………………………………………………….vii Acknowledgements...…………………………………………………………………………………..viii Note on Compasses and Pitch...……………………………………………………………………........ix Abbreviations... ………………………..………………………………………………………………...x Introduction ...…...…………………………………………………………………………………...1 Chapter One Antecedents Introduction...............……………………………………………………………………………………6 A working definition of a pipe organ.................................................................................................7 The Wicklow pipes.....................……………………………….………...…………………………… 7 Movement of people and trade from the Bronze Age.......…….………………………………................9 The Celtic Church and re-evangelisation of Europe....…………..…….………...……………..............10 Literature and the use of the word organum and píopaí therein....……....……………………………..11 Music Treatises and Chant...…………………………………………………………………………....16 Establishment of Vicars Choral and the earliest allusion to an organ in Medieval Ireland.......….…….18 The organ in Ireland from the fifteenth century..……………………………………………………….20 The organ in Ireland during the sixteenth century and to the end of the Commonwealth.......................23 The return of the organ in Ireland with the Restoration......…….………………………………………28 The organ in Ireland during the eighteenth century…………….…………………………………….. .32 Into the nineteenth century..............……………………….....……………………………………........41 Chapter Two Telford, White and other Organ Builders Introduction...…………………………………………………………………………………………...43 Telford...………………………………………………………………………………………………...44 Telford Family Tree..…………………………………………………………………………….51 White...………………………………………………………………………………………………….52 White Family Tree...…………………………………………………………………………….60 iii Irish organ-builders in England...…………………………………………………………………….....61 Other organ-builders in Ireland...……………………………………………………………………….61 Magahy Family Tree....………………………………………………………………………….63 Brown Family Tree..…………………………………………………………………………….64 Religious and national attitudes to organ-building...…………………………………………………...65 Irish Exports...…………………………………………………………………………………………..68 Radley College.…………………………………………………………………………….........68 List of Telford exports.………………………………………………………………………….71 Summary.......…………………………………………………………………………………………...73 Chapter Three Aspects of Manufactory and Business up to the Mid-Nineteenth Century Introduction........………………………………………………………………………………………..74 Manufactory.......………………………………………………………………………………………..75 Functionality of Casework and Design...……………………………………………………………….78 Revival Gothic...…………………………………………………………………………………80 Architects, Artists and Display Pipes....………………………………………………………….83 Grecian.…………………………………………………………………………………………..86 Duplication of Design..…………………………………………………………………………. 90 Case Study: Expedient Adaptation of an Organ in an era of change..........................………………… 93 Addressing the Client...………………………………………………………………………………..106 Having integrity in work………………………………………………………………………...107 Making a living………………………………………………………………………………….109 Workshop Performance…………………………........................................................................110 Transport...…………………………………………………………………………………………….113 Summary...…………………………………………………………………………………………….115 Chapter Four Two Case Studies Introduction...………………………………………………………………………………………….118 Case Study 1: Church of the Assumption, Bride Street, Wexford (Telford, 1858) Casework and Layout..………………………………………………………………………………..119 iv Comparing the Twin Organs...………………………………………………………………………...124 Pipework………………………………………………………………………………………...125 Bride Street Pipework......……………………………………………………………………………..131 Principals………………………………………………………………………………………...131 Mixtures…………………………………………………………………………………………137 Metal Strings and Flutes………………………………………………………………………...140 Wooden Flutes…………………………………………………………………………………..143 Reeds...........…………………………………………………………………………………….149 Case Study 2: St Andrew’s, Westland Row, Dublin (White, 1870) Casework and Layout....……………………………………………………………………………….156 Pipework....…………………………………………………………………………………………….164 Principals.………………………………………………………………………………………..164 Mixtures.………………………………………………………………………………………....166 Metal Strings and Flutes.………………………………………………………………………...167 Wooden Flutes.....………………………………………………………………………………..171 Reeds.........…...………………….………………………………………………………………174 Assessing Pipe Scales to the Freiburg Normal Scale...………………………………………………..177 Concluding Remarks...………………………………………………………………………………...181 Chapter Five The Style, Influences and Development of the Organ from the second-half of the Nineteenth Century Introduction.......………………………………………………………………………………....…….184 Pipe-making......…………………………………………………………………………………....….186 Stops...…………………………………………………………………………………………………193 Doublette………………………………………………………………………………………...197 Foreign Influences...…………………………………………………………………………………...202 Conservative Endings...………………………………………………………………………………..227 Conclusion...…………………………………………………………………………………………...232 v Chapter Six Post-Emancipation Choral Practices in Ireland – A Contextual Reference Introduction...………………………………………………………………………………………….235 The Pro-Cathedral, Dublin...…………………………………………………………………………..237 Mr Haydn Corri, Organist……………………………………………………………………….237 The first Choral Ensemble.……………………………………………………………………....244 Choral Repertoire...……………………………………………………………………………………255 The Influence of Novello..…………………………………………………………………………….262 Music Samples…………………………………………………………………………………..266 Organ Repertoire...…………………………………………………………………………………….272 The Rise of Amateurs...………………………………………………………………………………..275 Tractarian Reform and Hymnody......…………………………………………………………………277 Closing remarks regarding music-making and organ-building...……………………………………...288 Conclusion……………………………………………………………………………………........292 Appendix 1a: Specifications by White...……………………………………………………………...297 1b: Specifications by Telford.....…..……………………………………………………….307 1c: Specifications by other Irish Organ-builders........……………………………………..318 1d: Specifications by English or Foreign Organ-builders........……………………………322 1e: Current Specification of St Andrew’s, Westland Row.....……………………………..333 Appendix 2: Excerpts from an interview with Kenneth Jones.......…………………………………...334 Appendix 3: Articles on Dublin Organ-Building...…....…………...………………….……………...337 Appendix 4a: Diagrammatic Key to Tables...…........………………...………………………….…...341 4b: Tables of Case Study 1 (Chapter Four).......….….…………………………………….347 4c: Tables of Case Study 2 (Chapter Four)…......….….…………………………………..363 4d: Graph 4.24a....................................................................................................................375 Sources......…………………………………………………………………………………………….376 Bibliography......……………………………………………………………………………………….378 vi Abstract This thesis is the first to combine organology, musicology, history and ethnography in a comprehensive study focusing on Irish organ-building. Chapter One commences with an extensive historical survey of Irish organ-building. Chapter Two proposes that there was a thriving indigenous industry in the nineteenth century with two leading families, Telford and White. It describes their family and business history that continued until the early part of the following century. It also exposes evidence of religious prejudice and comments on Irish exports within the British Empire. Chapter Three proposes a relationship between manufactory and functionality, and suggests that Irish organ-builders were following English builders in the use of practical casework designs. A case study of Telford’s work at Trinity College Chapel, Dublin and Durrow (1838, 1842) examples expedient measures in the building of a new organ and adaptation of an old organ. Chapter Four presents analyses of layout, architectural style, and pipe scales of two case studies: Church of the Assumption, Bride Street by Telford (1858) and St Andrew’s, Westland Row, Dublin by White (1870). It reveals that White and Telford integrated Töpfer scale progressions in their work. With regard to a national style of organ-building in Ireland, Chapter Five shows that there was an evolution similar to that happening in England but suggests that there were conservative elements as the twentieth-century beckoned. The use of the one-rank Doublette stop was noted as a particular feature of Irish organ-building mid-nineteenth century. Evidence shows influences on Irish organ-building from Hill, Schulze and Cavaillé-Coll. Chapter Six proposes that there was a relationship between performance practices (the functional use of the organ) and organ-building. It reveals the choral practices in the Roman Catholic church in Ireland after Emancipation and shows how the use of the organ in Ireland was affected by musical practices in the London Embassy chapels, and, in particular, by the editorial style of Novello. The work concludes with a contemporary evaluation of Irish organ-building and offers future recommendations for those involved or interested in this art-form. vii Acknowledgements I wish to express my gratitude to the following people who helped make this work possible: Trevor Crowe, who has, at every part of this journey been generous with his time and